(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
By ABRSM. Edited by Catherine Black and Paul Harris. For violoncello, piano. (Gr...(+)
By ABRSM. Edited by
Catherine Black and Paul
Harris. For violoncello,
piano. (Grades 2-3).
Published by ABRSM
(Associated Board of the
Royal Schools of Music).
Composed
by Ignaz von Seyfried.
Edited by David Wyn
Jones. Set of parts.
Edition HH Music
Publishers #HH533-IPT.
Published by Edition HH
Music Publishers
(HH.HH533-IPT).
ISBN
9790708185499.
Seyf
ried uses the same key as
the Requiem, its
distinctive orchestral
sonority and quotes two
passages from
Mozart’s work
prompted by clauses in
the liturgical text. The
‘Libera me’
was widely used in
nineteenth-century
Vienna, both in its
original version for
voices and instrumental
ensemble, and for voices
and organ alone. This
edition allows both types
of performance..
Chorus & ensemble SKU: HH.HH533-FSC Composed by Ignaz von Seyfried. Edite...(+)
Chorus & ensemble
SKU:
HH.HH533-FSC
Composed
by Ignaz von Seyfried.
Edited by David Wyn
Jones. Full score.
Edition HH Music
Publishers #HH533-FSC.
Published by Edition HH
Music Publishers
(HH.HH533-FSC).
ISBN
9790708185451.
Seyf
ried uses the same key as
the Requiem, its
distinctive orchestral
sonority and quotes two
passages from
Mozart’s work
prompted by clauses in
the liturgical text. The
‘Libera me’
was widely used in
nineteenth-century
Vienna, both in its
original version for
voices and instrumental
ensemble, and for voices
and organ alone. This
edition allows both types
of performance..
SATB chorus SKU: HH.HH533-CHS Composed by Ignaz von Seyfried. Edited by D...(+)
SATB chorus
SKU:
HH.HH533-CHS
Composed
by Ignaz von Seyfried.
Edited by David Wyn
Jones. Choral score.
Edition HH Music
Publishers #HH533-CHS.
Published by Edition HH
Music Publishers
(HH.HH533-CHS).
ISBN
9790708185529.
Seyf
ried uses the same key as
the Requiem, its
distinctive orchestral
sonority and quotes two
passages from
Mozart’s work
prompted by clauses in
the liturgical text. The
‘Libera me’
was widely used in
nineteenth-century
Vienna, both in its
original version for
voices and instrumental
ensemble, and for voices
and organ alone. This
edition allows both types
of performance..
By Gabriel Faure. For Orch. (SATB with SB Soli). Choral Worship Cantata. Kalmus...(+)
By Gabriel Faure. For
Orch. (SATB with SB
Soli). Choral Worship
Cantata. Kalmus Edition.
Masterwork; Sacred. Book.
80 pages. Published by
Alfred Publishing.
SATB chorus, Org SKU: CA.338800 Responsorium. Composed by Anton Br...(+)
SATB chorus, Org
SKU:
CA.338800
Responsorium.
Composed by Anton
Bruckner. Gattungen
vokal: Sacred vocal
music. Full Score.
Composed 1843-1845. WAB
21. Carus Verlag #338800.
Published by Carus Verlag
(CA.338800).
ISBN
9790007293550.
Latin.
The
responsory Libera me from
the Requiem Mass dates
from Bruckner's years of
study in Kronstorf and is
stylistically reminiscent
of the early Viennese
classical period. The
organ takes over the
function of the basso
continuo.
8-part Trombone Ensemble - advanced SKU: CY.CC3005 Composed by Giuseppe V...(+)
8-part Trombone Ensemble
- advanced
SKU:
CY.CC3005
Composed by
Giuseppe Verdi. Arranged
by Randall Malmstrom.
Romantic Requiem. Score
and parts. 40 pages.
Cherry Classics #3005.
Published by Cherry
Classics (CY.CC3005).
ISBN
9790530058251.
Verd
i wrote his Requiem in
1874. It has been called
one of the greatest
operas ever because of
its passion and lyricism.
The exciting Sanctus
movement is also an
8-part double fugue based
on the inversion of the
melody from Libera Me.
Randall Malmstrom
has done a wonderful job
with his arrangement of
this great piece for
8-part Trombone ensemble.
The 2 1/2 minute movement
is appropriate for
advanced performers.
(With a CD of performances and orchestral accompaniments Soprano, Vol. 1). By Va...(+)
(With a CD of
performances and
orchestral accompaniments
Soprano, Vol. 1). By
Various. For Soprano,
Piano Accompaniment.
Vocal. Book with CD.
Ricordi #R140509.
Published by Ricordi
Libera me Soli, choeur mixte et accompagnement [Vocal Score] Oxford University Press
From Requiem. Composed by Gabriel Faure (1845-1924). Edited by John Rutte...(+)
From Requiem.
Composed by Gabriel Faure
(1845-1924). Edited by
John Rutter. Mixed
Voices. Oxford Choral
Classics Octavos. Vocal
score. 12 pages. Duration
3'. Published by Oxford
University Press
(OU.9780193416826).
Score and Parts Concert Band (Score & Parts) - Grade 4 SKU: HL.44012088 C...(+)
Score and Parts Concert
Band (Score & Parts) -
Grade 4
SKU:
HL.44012088
Composed
by Philip Sparke. Anglo
Music Concert Band.
Softcover. Anglo Music
Press #AMP339-010.
Published by Anglo Music
Press (HL.44012088).
9.25x12.25x1.382
inches.
Moving
Heaven and Earth consists
of a theme and 4
variations; although the
theme is original it
contains a phrase heavily
influenced by a 14-bar
passage from the Libera
Me in Faure's Requiem. It
is a sequence that the
composer finds
harmonically compelling
and, although it is never
quoted directly, it
appears in altered form
in the theme and each of
the variations. In the
original, the passage is
set to the words: Quando
c''li movendi sunt et
terra (When the heavens
and the earth shall be
moved) which gave
inspiration for the
title.